the card at the bottom of the circle represents something you did to bring the situation about. two of music (contraries): "without contraries is no progression. attraction and repulsion, reason and energy, love and hate, are necessary to human existence." a paradoxical situation at hand. being faced with emotional choices. different kinds of energies needing to be harmonized. attraction of opposites. focus on strengthening friendship and partnership. transcending differences. exchanges for mutual benefit. being willing to meet someone halfway.
the card at the left of the lower line represents the person or qualities that will sustain your spiritual journey. mystery: relying on your intuitive abilities and listening to inner wisdom. unexplained or mysterious energies at work. issues of sexuality. feeling a sense of divine protection. guarding your territory. look around you for instructive omens and portents. attraction to or advice from a wise woman.
the card in the middle of the lower line represents the qualities that you express in this circumstance. whirlwind: winds of change bring new visions, opportunities. a god-send or stroke of luck. outer turmoil concealing inner truth. stretching your boundaries. reaching a turning point. unseen forces churning below the surface. a good time to honor your gods.
the card at the right of the lower line represents the person or qualities that will reveal spiritual knowledge. man of painting: getting on top of practical aspects of the situation. taking a pragmatic outlook at what needs to be done. using calm and caution in a highly charged situation. taking a conservative yet colorful and personal approach. total concentration on the task at hand. bathing in the light of life. not holding back from direct experience.
7 where art thou? whither art thou gone? for many a place attracts thy mind.
haste, warrior, fort-destroyer, lord of battle’s din, haste, holy songs have sounded forth.
8 sing out the psalm to him who breaks down castles for his faithful friend,
verses to bring the thunderer to destroy the forts and sit on kanva’s sacred grass.
9 the horses which are thine in tens, in hundreds, yea, in thousands thine,
even those vigorous steeds, fleet-footed in the course, with those come quickly near to us.
10 this day i call sabardugiha who animates the holy song,
indra the richly-yielding milch-cow who provides unfailing food in ample stream.
11 when sura wounded etasa, with vata’s rolling winged car.
indra bore kutsa arjuneya off, and mocked gandharva. the unconquered one.
indra is symbolized by the bull. one of his symbols is the owl, indicating power. his vajra (thunderbolt) is the symbol of divine or mystic energy.
hawthorne has described in “the devil in manuscript,” while depicting a young author about to destroy his manuscript, his own vexations in trying to find a publisher for these attempts. “they have been offered to some seventeen booksellers. it would make you stare to read their answers.... one man publishes nothing but school-books; another has five novels already under examination; ... another gentleman is just giving up business on purpose, i verily believe, to escape publishing my book.... in short, of all the seventeen booksellers, only one has vouchsafed even to read my tales; and he — a literary dabbler himself, i should judge — has the impertinence to criticise them, proposing what he calls vast improvements, and concluding ... that he will not be concerned on any terms.... but there does seem to be one honest man among these seventeen unrighteous ones; and he tells me fairly that no american publisher will meddle with an american work, seldom if by a known writer, and never if by a new one, unless at the writer’s risk.” he indeed had the most discouraging sort of search for a publisher; but at last a young printer of salem promised to undertake the work. his name was ferdinand andrews; and he was at one time half-owner with caleb cushing of an establishment from which they issued “the salem gazette,” in 1822, the same journal in which hawthorne published various papers at a later date, when mr. caleb foote was its editor. andrews was ambitious, and evidently appreciative of his young townsman’s genius; but he delayed issuing the “seven tales” so long that the author, exasperated, recalled the manuscript. andrews, waiting only for better business prospects, was loath to let them go; but hawthorne insisted, and at last the publisher sent word, “mr. hawthorne’s manuscript awaits his orders.” the writer received it and burned it, to the chagrin of andrews, who had hoped to bring out many works by the same hand.
this, at the time, must have been an incident of incalculable and depressing importance to hawthorne, and the intense emotion it caused may be guessed from the utterances of the young writer in the sketch just alluded to, though he has there veiled the affair in a light film of sarcasm. the hero of that scene is called oberon, one of the feigned names which hawthorne himself used at times in contributing to periodicals. “‘what is more potent than fire!’ said he, in his gloomiest tone. ‘even thought, invisible and incorporeal as it is, cannot escape it.... all that i had accomplished, all that i planned for future years, has perished by one common ruin, and left only this heap of embers! the deed has been my fate. and what remains? a weary and aimless life; a long repentance of this hour; and at last an obscure grave, where they will bury and forget me!’” there is also an allusion to the tales founded on witchcraft: “i could believe, if i chose,” says oberon, “that there is a devil in this pile of blotted papers. you have read them, and know what i mean,— that conception in which i endeavored to embody the character of a fiend, as represented in our traditions and the written records of witchcraft. o, i have a horror of what was created in my own brain, and shudder at the manuscripts in which i gave that dark idea a sort of material existence!’ you remember how the hellish thing used to suck away the happiness of those who ... subjected themselves to his power.” this is curious, as showing the point from which hawthorne had resolved to treat the theme. he had instinctively perceived that the only way to make the witchcraft delusion available in fiction was to accept the witch as a fact, an actual being, and expend his art upon developing the abnormal character; while other writers, who have attempted to use the subject for romantic ends, have uniformly taken the historical view, and sought to extract their pathos from the effect of the delusion on innocent persons. the historical view is that of intelligent criticism; but hawthorne’s effort was the harbinger and token of an original imagination.